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ST PLAYS 



The Spy of Gettyst 
















































\ 


A NEW IRISH DRAMA. 


\ 


SHAMROCK #> ROSE. 

i* •«*.*•. 1 ,/j 

A "Romantic Story of Irish Life during the Rebellion 

of ’98, in four acts. 

By JOHN FITZGERALD MURPHY. 

<f- <•. J “V. • 

id three female characters. Costumes and scenery not diffi- 
ery part a good one. A sure hit. Printed as played under 
nor’s personal direction, at the Dudley St. Opera House. 
St. John’s Hall, Boston, and the Newport Opera House. 


STNOPSIS. 

• 

Scene, Squire Fitzgerald’s Home, in Wipklow. Rose’s story of Desmond’s 
ittti Cary hears a bit of valuable news. Barney O’Brady meets an unexpected 
shows him the door. Ileen and 'Barney. The Fugitive. The arrival of the 
-s. Beck quarrels with the Squire. The defence. The murder. The Arrest. 

Act. II. Scent /: A Landscape. Cary and the Captain plot the abduction of Rose. 
Douglass’ dilemma ’twixt fe**e -md duty. Scefie II: The Prison. Barney’s cell. Hot Irish 
n a,stonejug. A friend in need. 'The red coat. Scene III Rose receives a false message. 
Scene IV .‘ Desmond’s cell. The Death Warrant. . Celt and Saxon. Barney a guard. 
The death knell. The Escape. 

Act III. Scene I: O’Byrnes’ Wood. The purty girl milking her cow. Barney pro¬ 
poses to Ileen. Desmond hears bad news. Barney, in the guise of a soldier, gets important 
information from Cary. Scene II: Exterior of Beck’s Castle by moonlight. Rose a Cap¬ 
tive. Barney brings good news. The proposal and refusal. The ass kicks. The false 
captive. The Rescue. 

Act IV. Scene: Corrigmor at Sunrise. Shaun Cary a captive. The arrival of Nano' 
and Ileen. Tracked by Beck. Nano keeps Beck at Bay. The duel. Cary’s shot. Beck’s 
death. The “ Shamrock and Rose.” 


Price 


85 cents. 


Incidental to this piece occur the following new songs by Messrs. R. 
W. Lanigan and Leo. A. Munier, entitled 

SHAMROCK AND ROSE. MY IRISH QUEEN. 

MA BOUCHALEEN BAWN. 

The three published together at 60 cents; obtainable only of the publishers. 


For other novelties see the preceding page. 


Walter H. Baker & Co., 23 Winter St., Boston. 


/ 


w 







THE 



SPY OF GETTYSBURG 

©riginal Drama in Jour acts 


BY 

V 


CHARLES TOWNSEND 

% % 

AUTHOR OF “THE WOVEN WEB,” “ KIO GRANDE,” “BROKEN FETTERS,” “BOR¬ 
DER LAND,” “THE FAMILY DOCTOR,” “STELLA,” 

“TIIE MAN IN BLACK,” ETC. 


AUTHOR'S EDITION 


BOSTON 



1891 





CHARACTERS. 



General Meade, commanding the Army of the Potomac. 

Harry Lenox, a Federal scout. 

Major Timothy Tapley, an eccentric member of Lee's army. 

Uncle Moses Mulvey, a relic of the Mexican War. 

Cyril Blackburn, the black sheep of a noble Virgmia family. 

Solomon, an independent “ coon." 

Capt. Warren, a Federal staff-officer. 

Jenison, a willing tool of Blackburn's. 

Mabel Meredith, a true-hearted girl. 

Lottie Evans, her cousin, full of mischief. 

Mrs. Moses Mulvey, with a mind of her own. 

Time. — The Civil War. A lapse of two years between the first and second 
acts; of four days between the second and third acts; of one hour between the 
third and fourth acts. 


Time of playing , two hours and thirty minutes. 



Copyright, 1891, by C. F. Townsend. 


All Rights Reserved. 


(Jg^SrECiAL Notice. — This play is duly protected by copyright. Ama¬ 
teurs may produce it without permission, but all others must first obtain the 
consent of the author. 


H • Of6 0^ 








COSTUMES. 

(See, also, Remarks on the Play.) 

Meade. — Uniform of Major-General, U.S.A. 

Lenox. — Act I. — Street dress. Act II. — First dress, uniform of a Federal 
Captain. Second dress , ordinary suit, padded to make figure very stout, wig, large 
mustache on wire, cap, brogans. Act III. — First dress , same as second dress in 
Act II. Second dress , Captain's uniform. Act IV. — Captain’s uniform. 

Tapley. — Act I. — Riding suit. Acts II., III., and IV. — Uniform of Con¬ 
federate Major. 

Mulvey. —Modern costume, somewhat eccentric. 

Blackburn. — Act I. — Riding suit. Acts II., III., and IV. — Uniform of a 
Confederate Colonel. 

Solomon. — Ordinary suit. 

Warren. — Uniform of Federal Captain. 

Jenisox. — Gray suit of Confederate private. 

Mabel. — Modem house and walking dresses. 

Lottie. — Same style as Mabel. 

Mrs. Mulvey. — Sober house dresses. Walking dress for Act II. 


PROPERTIES. 

Act I. — Broom for Mrs. Mulvey. Whips for Blackburn and Tapley. 
Act II. — Side arms for the various officers. Musket for Jenison. 

Act III. — Lighted lamp. Revolver for Lenox. 

Act IV.— Lighted lantern, rope, knife. Gun for Jenison. Guns to fire. 


SCENE PLOT. 

Acts I. and III. — An elegantly furnished drawing-room in Mabel's home 
near Gettysburg, in 4th grooves. Doors, c. in flat : r. 1 E. and l. i e. Table 
and chairs, L. front. Sofa, R. front. 

Acts II. and IV.— Roughly furnished room in 3d grooves. Door l. and 
window r. in flat. Door r. 2, and L. 1 E. Common pine-table with drawer, 
and three chairs, r. front. 



























■ 










































































































































REMARKS ON THE PLAY. 


The average war play is objectionable in many respects. Some¬ 
times battle scenes are introduced, which are always very difficult 
and usually ridiculous ; the unity of impression is frequently broken 
by the aimless shifting of scenes ; the characters too often waste 
time in patriotic speeches — talking instead of acting — and in many 
cases these so-called war dramas are written without the authors 
possessing the slightest knowledge of military matters. The Spy 
of Gettysburg is happily free from all these faults. The action 
is sharp and decisive ; the author's thorough acquaintance with 
military tactics, and his careful study of the momentous struggle at 
Gettysburg have enabled him to draw a clear and accurate picture, 
depicting life as it was in the exciting days of '63. The Spy of 
Gettysburg is easily produced. Only two changes of scenery — 
both simple interiors —are required, and there are no difficulties in 
the way of costumes. The following suggestions deserve careful 
study. 

General Meade is a man of forty-eight. He wears a short, 
full beard and mustache, and his face is bronzed from exposure. 
He is quiet but decisive in speech and soldierly in bearing. 

Lenox is a young man about twenty-five years of age. He is 
straightforward, manly, and fearless. When disguised as the 
“ Dutchman,” he may indulge in considerable low comedy busi¬ 
ness, but should never do so at other times. Give particular atten¬ 
tion to the climaxes and to the struggle in Act IV. 

Tapi.ey is about the same age as Lenox. He is a genial, pleas¬ 
ant fellow, and particular care must be taken to avoid overdoing 
the ‘* stutter.” It is only observed now and then, and is chiefly 
noticeable when he is excited. 

Mulvey is a man of fifty-five, stout, red-faced, jolly and easy¬ 
going. The character should be played throughout in a vein of 
broad comedy. 

Blackburn is a disagreeable character and one that requires 
good acting. He is a gentleman by birth and education, but his 
evil, revengeful nature offsets all his better qualities. He is polite 
and smooth of speech except when crossed, and then his vindictive 
temper asserts itself. His make-up is dark ; his age about thirty. 

Solomon is an elderly negro, and the character must be pre¬ 
sented on the lines of broad comedy. The part must be dressed 
soberly, but the voice, gestures, and general bearing may be con¬ 
siderably exaggerated. 

Warren is a utility and the part requires no special make¬ 
up. Age about thirty. 


5 



6 


REMARKS ON THE PLAY. 


Jenison is a typical “ poor white” of the South. He is awkward 
in movement and uncouth in speech. His complexion is “ muddy,” 
and his face shows little color. Age thirty-five. 

Mabel. This is not an emotional role, although there are some 
very strong scenes in the third and fourth acts. The earlier acts 
should be played quietly in order that power may be reserved for 
the impressive scenes with Lenox and Blackburn toward the 
close of the play. Mabel wears a neat house dress in the first act, 
a walking-suit in the second, and another house dress in the third 
and fourth acts. 

Lottie is a soubrette role , piquant, lively, and full of mischief. 
Her costumes are similar to Mabel’s. 

Mrs. Mulvey is a woman of from forty to forty-five. She is 
quick, active, and energetic. She dresses quietly and in good taste, 
wearing a house dress in the first act, a walking-suit in the second, 
and another house dress in the third act. 

t 

SYNOPSIS OF EVENTS FOR PROGRAMME. 

Act I. — Mabel’s home near Gettysburg, Penn.—The spring of 
’61.— The sleepy servant. — Solomon’s dream.—Visitors.—Tap- 
ley’s opinion. — Mabel and Harry. — The proposal. — Accepted.— 
Tapley and Lottie. — Her mischief. —Tapley’s device. — “ Come 
to my arms !” — The two lovers. —“ When I was in the Mexican 
war.”—Soloman defies Blackburn.— “Touch me ef vo’dar!”— 
Blackburn’s inquiry. — The answer. — An insult. — “ Silence, you 
cur ! ” 

Act II. —A deserted house near Gettysburg. — A lapse of two 
years. — The eve of battle.— Harry and Warren.— Discussing 
the war. — Harry’s opinion of contractors. — Arrival of General 
Meade. —A dangerous mission. — Solomon’s boast. — His sudden 
fright. — Some tough yarns. — “I knows what I'll do! ” — Mulvev’s 
advice. — Harry in disguise. — Mabel’s suspicions. — “ Ah, Mr. 
Dutchman, I know you!” — Lottie meets an old friend. — She 
makes a capture. — Blackburn and the “ Dutchman ”—Mabel in 
danger.— Rescued. 

Act III. — Mabel’s home. — A lapse of four days. —After the 
battle. — Waiting for news.— Mrs. Mulvey gets mad. — Solomon 
and his “wonderful” news.—The “Dutchman” on deck.— A 
roaring row. — Tapley’s warning.—Too late. — Blackburn and 
Mabel. — Harry’s danger. — Captured. 

Act IV. — The deserted house, same as Act II. — A lapse of 
an hour. — Harry a prisoner. — “ You'll go to kingdom come ! ”— 
Blackburn’s “ tender mercy.” — A plucky hero. — A hard bargain. 
— Harry’s reply.— Friends in need.— “We’ll ride like the 
debble ! ” — A close call. — Free. — Face to face. — “Now defend 
yourself!”—The struggle.— Mabel’s heroism.— “Fire if vou 
dare ! ” — The attack. — The tables turned. — Blackburn’s despera¬ 
tion. — A happy ending. — Finale. 


THE SPY OF GETTYSBURG. 


ACT I. 

Scene. — Elegantly furnished drawing-roojn , in fourth grooves. 

Doors c. in flat, R. i e. and L. i e. Table and chairs L. front, 

sofa r. front. Discover Solomon asleep 071 sofa. 

(Enter Mrs. Mulvey with broom, C.) 

Mrs. M. Well, I declare! Here it is past two o’clock in the 
afternoon, not a soul in sight about the place, and even that ever¬ 
lasting lazy old Solomon has crawled off somewhere to sleep. 
Oh-h ! I wish I had the bossing of that darkey! Wouldn't I 
stir him up! Well, I guess ! But Mabel, bless her dear heart, is 
as easy with him as an old shoe. Where on earth can he be ? 
(Goes l.) Solomon! Solomon! ( He snores.) Sol-o-mon! 
{Another snore.) What was that noise? {Turns, sees him.) 
Well, of all things! If there isn’t that lazy nigger sleeping in the 
drawing-room! Oh-h! Talk about impudence! {Approaches.) 
Pleasant dreams, no doubt, you black son of Ham ! Well, I’ll just 
shatter them. Wake up ! {Hits him with broom.) 

Solomon {waves arms). Shoo! Shoo dar! Git erway! I 
ain’t done miffin’! 

Mrs. M. Sleep in the drawing-room, will you ! {Strikes him.) 

Sol. Shoo! Lemme ’lone! {Rolls off sofa; kneels with 
clasped hands.) I nebber stole no chickuns, I’ll swar ter good¬ 
ness I didn’t. Oh, please, Mr. Big Rooster, do go ’way an’ 
lemme be, an’ I’ll nebber stole no mo’ chickuns, deed I won’t, an’ 
I’H - I’]} -: I’H - 

M rs. M. What’s the matter with you ? 

Sol. Oh, Mis’ Mulvey, Mis’ Mulvey — listen to my tale of 
woe ! 

Mrs. M. {sits l.). Well, what is it? 

Sol. Whew! {Rises.) Whoo! {Rubs eyes.) Whar de 
debble is I nohow? Huh! Golly! I jes’reckon Ise done been 
ersleep. Dat war er mos’ pow’ful orful dream I wus havin’, Mis’ 
Mulvey. A reg’lar ole nightmar’ right’n de daytime. Yo’ see, 
Mis’ Mulvey, I was so pow'ful tire’ dat I done sot down ter rest 
— jes’er minute — an’ I fell ersleep, an’ I frot I seed er preat, 
monst’us big chickun bigger’n a hippoposatus cornin’ right fo' me 
wiv he mouf wide open as er barn do’, an’ he sez ter me, sez he, 
“ Vo’ stolded me an’ fried me in de pan when 1 was a lil chickun, 

7 



8 


THE SPY OF GETTYSBURG. 


an 1 now I’se gwine ter swaller yo’ slicker’n greased lightnin.” 
An’ den he snorted brimstun an’ fiah an’ whanged me ober de 
head, an’ sweard at me an’ — an’ — dat’s all. 

Mrs. M. Yes, you lazy rascal, and then I banged you over the 
head with my broom. 

Sol. Yas’m, dat’s er fac’ — an’ I’se moughty pow’ful’ bliged ter 
vo’, I is, fo’ in jes’ anudder no time dat ar rooster'd done swallered 
me, an’ den whar’d I been ? 

Mrs. M. Well, I know where you would be if I had the 
handling of you. 

Sol. Dat so ? An’ whar’s dat — ef I mought ventur de 
interum^ation. 

cr» 

Mrs. M. Where? Why, out in the fields working, — right 
where you ought to be, — instead of loafing about the house. 

Sol. Now, Mis’ Mulvey, s’pose’n we argify dat pint. In de 
fustest place, I’se er free inderpendum gemman. I is none o’ yer 
low down, po 1 common, slayg nigger truck ’bout me. Mis’ Mabel's 
daddy—Lor’ bress ’him — done buyed me an’ sot me free. An’ 
now jes’ see what I duz. Ain’t I Mis’ Mabel’s butler? Don’ I 
lay out de table an’ fotch de wine an’ ’nounce de guests an’ all dat, 
an’, Lor’ bress ’er, won't I be ’er pertecter when de Norf an’ Souf 
gits ter foughtin’ ? 

Mrs. M. A nice protector you would be ! Why, the very sight 
of a rebel uniform would scare you into fits — you precious old 
rascal! 

Sol. ( pretending to weep'). Mis’ Mulvey, you’ll be s-s-sorry fo’ 
’busing ob me s-s-some day. 

Mrs. M. Oh, there, there, Sol, don’t feel bad. I meant noth¬ 
ing. We all know what a good, faithful fellow you are. 

Sol. Yas’m. But arter car’in’ fo’ Mis’ Mabel as I’se done 
ebber sence she war bo'n, an’ bein’ scar’d mose ter def wiv er night- 
mar’ jes’ now, your pitchin’ inter me nigh done bruck my po’ ole 
heart. 

Mrs. M. It’s all right. I won’t scold you again. But fly around 
now, for Mr. Lenox will soon be here. ( Goes r. ; aside.) Poor 
old fellow. He can’t bear a cross word. (Exit, R.) 

Sol. Yas’m. He! I foolded her dat time. Ki yi! White 
folkses gotter be moughty spry to cotch dis chile nappin’. (Up 
c.) Dar’s jes’ no two sorter ways erbout dat. 

(Enter Cyril and Tapley, c.) 

Walk right in, gemmen. Scuse me fo’ not meetin’ yo’ at de do’, 
’cause yo’ see I’se pow’ful sorter — 

Cyril. Hold your tongue. 

Sol. Eh? Wha’s dat? 

Tapley. Where is your mum — mum — master ? 

Sol. My mum — mum—what? 

Cy. Your master, fool! 

Sol. I hain’t got no mars’r, an’ ’sides he ain’t no fool, nohow. 


THE SPY OF GETTYSBURG. 


9 


Tap. {to Cyril). Easy — he’s a f-free negro. 

Sol. {aside). Reckon dat gemman’s gotter implement in his 
speech. {To Tapley.) Who shall I hab de pleasure ob 
ernouncin’ ? 

Cy. Cyril Blackburn, and his friend Mr. Tapley — from 
Virginia. 

Sol. Yesser. {Goes l. ; aside.) Dat ar man looks pow’ful 
dang’us. I’ll done keep my eye on ter him. {Exit, l.) 

Cy. Well, Tapley, old fellow, our northern excursion has ended 
rather abruptly. 

Tap. Yes — c-confound it. {They sit.) 

Cy. Ah ? Then you do regret that you will not meet that pair 
of blue eyes which played the mischief with you in Washington 
last winter ? 

Tap. Of course I regret it. But you m-may as well own up, 
Blackburn. You t-too were smitten. 

Cy. True enough. You fell desperately in love with that little 
Miss Evans, while I — 

Tap. While you had a similar experience with M-Miss 
Meredith. 

Cy. And we shall probably see neither of them again. Enough 
of that. I suppose the Yankees mean to fight, now that we have 
fired on Sumter. 

Tap. They’d be fools if they didn’t. 

Cy. Possibly. Though it will be a short war and a merry one. 
If the 'mudsills give us a chance, we will make short work of them. 

Tap. D-don’t you fool yourself. Those Northerners will fight 
like the deuce when they get riled. I know, for I was among 
them four years at Harvard. They have got the men, the money, 
and the grit; and I tell you frankly that we are thundering f-fools 
to tackle them. 

Cy. You are not afraid, I hope. 

Tap. Did you ever know me to show cowardice ? 

Cy. Never, old fellow. You are plucky enough, I admit. But 
surely you do not imagine those Yankees will stand any show 
against us ? 

Tap. No, I don’t imagine anvthing. I am sure of it. I tell 
you, we are b-b-butting our heads against a stone wall. We are 
in fora tremendous thrashing, and we’ll get it too—m-mark my 
words. 

Cy. {laughing). You will talk differently when you march into 
Washington at the head of a regiment. 

Tap. There will be whiskers on the moon before any of our 
regiments m-march into Washington. 

Cy. Nonsense. One would think you opposed this movement. 

Tap. One would think just right. I don’t pretend to be a 
p-prophet, but I tell you this war will fail ; and it ought to fail. 
This country must stand or fall together, and I am opposed to any 
attempt at division. D-don’t be alarmed. If I am called upon to 


IO 


THE SPY OF GETTYSBURG. 


fight, I’ll fight, and so will thousands of others who think as I do. 
But in doing so we will go to the d-devil all together. 

Cy. You are quite an orator. We shall have to send you to 
the Confederate Congress. 

Tap. Congress be hanged ! D-don’t be sarcastic. ( Crosses.) 

{Enter Mulvey, l.) 

Mulvey. Good-afternoon, gentlemen. 

Cy. (rising). Good-afternoon, sir. Pardon our intrusion, but 
we have been in the saddle since daybreak, and owing to the 
present excitement, we thought it advisable to avoid the towns. 
Our horses need food and rest, so we ventured to trespass here. 

Mul. Don’t mention it, sir. You are entirely welcome, I 
assure you. My name is Moses Mulvey, and you are — 

Cy. I am Cyril Blackburn, and this is my friend Mr. Tapley. 
We are returning to our homes in Virginia. 

Mul. I am glad to meet you both. I have heard of you often. 
Cy. Indeed? 

Mul. Yes. My niece, Miss Meredith, has mentioned your 
name, and her cousin has sung Mr. Tapley’s praises until I — 

Cy. Pardon me, sir. Is Miss Meredith here? 

Tap. And Miss Evans also ? 

Mul. Both of’em, both of ’em. (Aside.) There’ll be a sur¬ 
prise party here, I’m thinking. He, he, he! Oh, these young 
folks ! 

Cy. (to Tapley). Here’s luck. 

Tap. Yes. (Aside.) Now, if my confounded tongue,don’t get 
t-tied! 

Mul. (r.). Well, young gentlemen, if you will step into the 
next room you can remove the dust of travel while luncheon is 
being prepared. 

Cy. (goes r.). Thank you, sir. (Exit, R.) 

Tap. (r., aside). I’ll talk slow, and then I won’t s-stutter! 
(Exit, r.) 

Mul. There’ll be billing and cooing, and cooing and billing. 
Kee! He, he, he ! Oh, these young folks! these young folks! 
(Exit, R.) 

(Enter Mabel and Harry, c.) 

Mabel. And so, Mr. Truant, you have arrived at last. 

Harry. At last — yes. And what an age it has been to me ! 
Mab. Uncle said that he expected you this morning. 

Har. So I wrote him; but — but I was detained. (Aside.) 
How shall I tell her? 

Mab. Never mind. Now that you are here, you must make 
us a good long visit. 

Har. Thank you, Mabel. I should like to remain, but — 

M ab. But — but what ? 

Har. I am afraid my visit will be very brief this time. 


THE SPY OF GETTYSBURG. 


I I 


Mab. Why, Harry, you look as solemn as an owl. 

Har. ( aside ). No wonder. (Mabel sits on sofa.) 

Mab. What is the matter ? Have you committed some “deed 
of dreadful note ” ? If so, confide in me, and I will advise you like 
a grave and learned judge. 

Har. Thank you. I will confide in you, although it is no 
secret. Mabel, we have been lovers since our childhood, yet 
you have always treated the future lightly. But to-day, for once, 
I wish you to listen seriously. 

Mab. Go on. I will be sober as a deacon. 

Har. This is no time for jesting, Mabel. I need repeat no 
vows, for you know that 1 love you with all my heart. Give me 
your word, dear, bind yourself tome — promise that if I return 
you will become my wife. 

Mab. If you return ? Are you going away ? 

Har. Yes. 

Mab. For how long ? 

Har. ( seriously ). God alone can tell; perhaps forever. 

Mab. {rising). Harry, you frighten me. What do you mean ? 

Har. I mean that my country needs me. The threatened war 
has come. 

Mab. War ? 

Har. Yes. The rebels have dared to raise their hands against 
the government — have fired upon the old flag—and now the time 
for dallying is past. The call to arms resounds throughout the 
land. My duty is to answer it — and I have enlisted. 

Mab. No, no, Harry — don’t say that! 

Har. Mabel! Would you have me act the coward ? Would 
you have me hide at home— slink out of sight — when my country 
is in danger ? 

Mab. No. Duty calls you, Harry, and I will not stand in the 
way. You may go—you shall go. And when the war is over, if 
Heaven wills that you return, I will gladly, proudly become your 
wife. 

Har. {embracing her). My brave girl ! 

Mail {holding and swinging his hands). You will look splen¬ 
did in uniform. {Brightly.) What are you going to be — a 
General ? 

Har. {smiling). Not at the outset, at least. 

Mab. Why not ? You are ever so much better-looking than 
some Generals I have seen. 

Har. {laughing). You flatter me. But good looks don’t 
count in war. 

Mab. Well — you’ll be a Colonel at least — now, won’t you ? 

Har. Possibly — in time — if I have enough political influence. 
Just at present, I shall have all I can do to manage the company 
I am organizing. 

Mab. Then you will be a Captain, anyhow. Oh, good! {Clap¬ 
ping hands .) I’m awfully glad. 


12 


THE SPY OF GETTYSBURG. 


Har. Why? 

Mab. Because officers can get behind trees when they begin to 
shoot. 

Har. I have heard of such things. But come — let us take a 
stroll out-of-doors. {They go up C.) 

Mab. ( at c. d.). And, Harry—- 

Har. Yes ? 

Mab. When you get behind a tree, stand just so, remember 
{hands draw?i up to chin, arms pressed to sides), and don’t show 
your head. 

Har. {laughing). Yes, I’ll remember. ( Exeunt, c. d.) 

{Enter Tapley and Lottie, r.) 

Lottie. You certainly are the last person in the world that I 
expected to see. 

Tap. Well — from the c-cold, bloodthirsty way in which you 
say it, I might imagine that I am the last p-person in the world 
that you wanted to see. 

Lot. Perhaps you are. 

Tap. Thank you. In that case, I may as well c-cut and run. 

Lot. {carelessly). “ He who fights and runs away, may live to 
fight another day.” 

Tap. Yes ; and there's going to be the biggest kind of af-fight, 
too. 

Lot. Who’s going to fight ? 

Tap. Haven’t you heard? {Aside.) For once I can tell a 
woman some news. {Aloud.) Why, the North and South are in 
for the biggest, h-hardest sort of a tussle. {They sit.) 

Lot. And you are going to be a soldier ? 

Tap. Not if 1 can help it. I am opposed to secession. But 
my home and property are all in Virginia, and I may be called 
upon— c-confound it! 

Lot. I hope you will get whipped, and lose all your slaves, 
and — 

Tap. I can’t lose any slaves. I got rid of mine — sold every 
m-mother’s son of them last winter when you told me you were an 
Abolitionist. 

Lot. That’s right. 

Tap. Now, I s-say, Lottie — after the war is over, and the 
angel of peace is f-flapping her wings, don’t you think that you 
will — 

Lot. Now stop. {Shakingfinger.) You are going to propose 
again — you know you are. Have you forgotten that you proposed 
to me once or twice every day last winter ? And it did no good. 

Tap. No? 

Lot. No — except to make me laugh. Ha, ha, ha. (Crosses.) 

Tap. {aside). I believe she’s p-poking fun at me. I’ll try a 
new dodge. {Aloud.) You’re quite mistaken, Miss Lottie. It 
did lots of good — gave me p-plentv of practice. 


THE SPY OF GETTYSBURG. 


13 


Lot. Practice ? 

Tap. So when I come to propose in earnest, I’ll know how to 
d-do it. 

Lot. And do you mean to say that you never meant it ? 

Tap. Not a single, s-solitary word. 

Lot. Oh, you wretch! You monster! ( Crying .) You’ve 
b-broken my h-heart! {Sobbing.) I’ll d-d-die. I know I will! 
( Sits .) 

Tap. {aside). Now I have d-done it! 

Lot. {springing up). But you did mean it ; so there now ! 
{Stamps.) You did! 

Tap. D-don’t get excited. 

Lot. I’m not excited! {Stamps.) Not the least little bit! 
But you asked me to marry you scores of times. You swore — 
yes, you did — swore that you’d die for me, and- all that, and now 
you've got to have me — so! {Stamps.) 

Tap .{aside). That was a g-good scheme. {Aloud.) All right, 
Lottie, I yield. C-come to my arms. {They embrace.) 

{Enter Mulvey, c. d.) 

Mul. Certainly I — ahem ! 

Lot. Oh! {Exit, r.) 

Tap. C-confound it ! {Exit, l.) 

Mul. Bless my soul! But I knew it! {Chuckles.) Kee! 
I knew it! Billing and cooing already. It’s all right though — all 
right. Course, it is. Did it myself no end of times when I was 
young. Kee ! Made love to hundreds and hundreds of the dear 
creatures. Kee! Hundreds of them. {Looks around.) Though 
I wouldn’t want Mrs. Mulvey to find it out. ( Turns up c. as 
enter Harry, c. d.) Ah, Harry, my boy ! {Shakes hands.) So 
here you are. 

Har. Yes ; but I leave to-night. 

Mul. So soon ! Why is that? 

Har. I am going to the front. 

Mul. Ah! Then you have already enlisted. 

Har. Yes. 

Mul. That’s right. Nothing like promptness. Now, when I 
was in the Mexican War, I was — 

Har. Certainly— I recollect. {Aside.) He has told me that 
infernal story fifty times. {Aloud.) You have some other visitors, 
I believe. 

Mul. Yes — oh, yes. And I was saying — when I was in the 
Mexican — 

Har. Excuse me — but who are they ? 

Mul. A couple of Southern gentlemen returning home. They 
have only stopped for luncheon, although one of them seems to be 
in love with Miss Evans. And that reminds me. When I was in 
the Mexican War. I — 

Har. In love with Lottie? 


H 


THE SPY OF GETTYSBURG. 


Mul. {aside). I guess he doesn’t want to hear about the 
Mexican War. {Aloud.) Yes — they were trying to choke each 
other a moment ago. And the other one seems to take great 
interest in Mabel. 

Har. He had better not! {Crosses.) Who is the fellow? 

Mul. {looking r.). Hush ! Here he comes now. 

{Enter Cyril, r.) 

Cy. I am greatly obliged for your hospitality, sir. 

Mul. You are entirely welcome, Mr. Blackburn. By the way, 
shake hands with Mr. Lenox. He is one of Uncle Sam’s new 
recruits. 

Cy. {pausing). Indeed? 

Har. Is there anything surprising in that ? 

Cy. Oh, no. My feeling is one of regret. 

Har. Don’t waste any sympathy on us, sir. 

Cy. Certainly not. Your new recruits will find something 
stronger than sympathy awaiting them beyond the Potomac. 

Har. You really think so? Now do you know I cannot imagine 
any possible strength in brag and bluster ? {Goes up L.) 

Mul. Of course not. That reminds me : when I was in the 
Mexican War, I — 

Cy. {half aside , impatiently). The devil take the Mexican 
War! 

Har. Come, Mr. Mulvey. 

Mul. All right. Make yourself at home, Mr. Blackburn. My 
niece will be down directly. 

Har. Good-afternoon, Mr. Blackburn. {At c. d., aside.) That 
fellow will bear watching. 

Mul. {to Harry). And as I was saying, when I was in the 
Mexican War, I — {Exit, talkijig with Harry, c. d.) 

Cy. {goes to c. d., turns back). The cursed Yankee ! I hope to 
have the good fortune to meet that fellow sometime where I can 
bring him down a peg. So this is my charming Mabel’s-home. 
Strange how that girl has interested me. I actually believe that I 
am in love with her. Love ? Ha, ha, ha ! Cyril Blackburn in 
love ! And yet I suppose we all experience the sensation at one 
time or another. When I proposed to her last winter in Washing¬ 
ton, she gave me an evasive answer. To-day I will settle the ques¬ 
tion once and forever. {Goes r.) 

{Enter Solomon, l.) 

Come here, you. 

Sol. My name isn’t “you.” 

Cy. Don’t answer me like that, you black devil, or I’ll give you 
a taste of rawhide. 

Sol. I’se not erfraid o’ you, sah. I’se a free man, mistah, so 
tech me ef yo’ dar’. 

Cy. What! You cursed black dog! {Starts towards Solo¬ 
mon.) 






THE SPY OF GETTYSBURG. 


15 


{Enter Mabel, c.) 

Mab. Mr. Blackburn ! 

Cy. Ah, Miss Mabel — pardon me. Your servant forgot his 
place, and, for a moment, I too forgot — that I was not in Virginia. 

Mab. I never knew Solomon to be impertinent. 

Sol. Please, Miss Mabel, I warn’t doin’ nuffin ; only he called 
me you. 

Mab. {puzzled). What is that? 

Sol. He sez “come har, you! ” An 1 I tole him es I warn’t you. 

Mab. {laughing). Very well. You may go, now. 

Sol. Yas’m. {Goes l. ; aside.) Golly! Reckon I done took 
er rise outer dat man nohow! {Exit, l.) 

Cy. You allow a negro servant many liberties, Miss Mabel. 

Mab. No more than he deserves, Mr. Blackburn. When I was 
a little child, that poor fellow saved my life at the risk of his own. 
He is faithful, honest, devoted, and has richly earned whatever 
liberty he enjoys. 

Cy. He saved your life ? Then he deserves a diadem. 

Mab. No ; but he should be treated as a man and not as a dog. 

Cy. Let us change the subject. {They sit.) The trouble which 
has risen between the North and South, and which I fear will cul¬ 
minate in a very disastrous war, compels me to return home at 
once. Our unexpected meeting is most fortunate, as it enables me 
to again refer to a subject of the most vital importance. Mabel, 
may 1 venture to hope that you are ready to answer my question 
of last winter ? 

Mab. Yes — I am ready. 

Cy. Good. Then you will become my wife ? 

Mab. No, sir; I will not. 

Cy. Indeed ! And is this decision final ? 

Mab. Entirely so. {Rises and crosses.) 

Cy. {rising). Very well. But if the question is allowable, may 
I ask your reasons ? 

Mab. There are many of them. One is that I do not love you 
in the least ; another, that my hand is already pledged. 

Cy. To that Yankee milksop I met here a few moments ago ? 

Mab. Sir! 

Cy. No high tragedy, please. I never gave you credit for much 
sense, but I would not have believed you silly enough to win my 
resentment, nor to throw yourself away on a miserable Yankee 
mudsill! (Harry appears at c. d.) 

Mab. (l). Enough, sir. Your insulting threats proclaim your 
true character. As for Mr. Lenox, he is — 

Har. Here! {Conies down c.) 

Cy. (R.). So you have been acting the spy ! {Shrugs shoul¬ 
ders.) Well, you know that listeners never hear any good of 
themselves. 

Har. Silence, you cur! This lady’s roof protects you now. 


i6 


THE SPY OF GETTYSBURG. 


But we shall meet again some day, and when we do, we will balance 
our accounts! 


QUICK CURTAIN. 

(For encore tableau, Harry is r. of Mabel, who is at L. front. 
His left arm is around her waist , and he points with right hand 
towards c. d., near which Cyril stands with folded arms.) 

ACT II. 

Scene. — Roughly furnished roo7n ' in third grooves. Door l., 

and window R. in flat. Doors r. 2, and l. i e. Common pine 

table with drawer, and three chairs, r. front. 

(Filter Harry and Warren, d. f.) 

Warren. So the “old women” at Washington have made an¬ 
other change ? 

Har. Yes. Our “brave” War Secretary has never forgiven 
Hooker because he wanted to capture Richmond. He has been 
shivering in his shoes for a month past, fearing that half a dozen 
rebs might move on Washington. 

War. He is an infernal old fool! 

Har. Gently, my dear fellow, gently. Remember he is the 
“ Great Mogul ” who knows it all. 

War. And Halleck is another. 

Har. Well, they are a fine pair of old grannies to let the war 
drag on in this way. Three weeks ago we might have crushed 
Hill and captured Richmond, as no army opposed us. That would 
have given us the services of ten thousand men lying idle in the 
Peninsula, and then our whole army could have been turned against 
Lee. 

War. What prevented our doing it ? 

Har. The contractors. 

War. The contractors ? 

Har. Certainly. The fellows who supply us with shoddy 
clothing and scrap-leather shoes have combined with the financial 
sharks to keep the war going until their rascally pockets are filled. 

War. There may be something in that. 

Har. To be sure there is. By the way, how does Meade take 
his new honors ? 

War. Very quietly. 

Har. This is the fifth change we have had in commanders 
during the past ten months, and no doubt Meade appreciates the 
gravity of the situation. However, he is a good officer, and the 
army of the Potomac will support him loyally. 

War. I suppose we are in for a thundering fight. 

Har. Very likely. The worst of it is that nobody knows where 


THE SPY OF GETTYSBURG. 17 

it will take place. Our army is widely scattered, while the enemy, 
no doubt, is concentrating at some point north of us. 

War. I presume that is what Meade wants you to find out. 
He said he would be here in half an hour {goes to D. f.), and here 
he is. {Down l.) 

{Enter General Meade, d. f. All salute.) 

Meade. Good-afternoon, gentlemen. Captain, I understand 
that you know this part of the country thoroughly. 

Har. I do, sir. 

Meade. I believe you did some scouting for General Hooker. 
Har. Yes, sir. 

Meade. Very good. Are you willing to become a Pennsylva¬ 
nia Dutchman for a short time ? 

Har. And penetrate the enemy’s lines in that disguise? 
Meade. Yes. 

Har. I’ll do it, General. 

Meade. Thank you. When can you start ? 

Har. As soon as I get rigged up. My toggery is all ready. 
Meade. Within an hour will be soon enough. 

Har. Have you any special directions ? 

Meade. You will ascertain as nearly as possible where Lee is 
concentrating his forces. Use particular care at the outset, as some 
of Stewart’s cavalry are in this immediate neighborhood. 

Har. Where shall I report? 

Meade. I will be at Taneytown all night. If you cannot reach 
me by daylight, report to Reynolds at Gettysburg. Good-by, cap¬ 
tain. Good luck. 

Har. Good-by, General. {Salutes Meade.) 

Meade. Captain Warren, you may accompany me to head¬ 
quarters. {Exit D. F.) 

War. Very well, sir. Good-by, old fellow. 

Har. Good-by. {They salutej exit Warren, d. f.) And 
now for some more spy work. I heartily detest the business, but 
then, duty is duty. So here goes for my disguise. {Exit, R. 2 e.) 

{Enter Solomon, quickly , d. f.) 

Sol. {closing door). Whoo ! Glory Hallalujum ! I’se safe, I 
is. But I’se jes’ dead suah sartin I seed some rebel sojers a-crossin’ 
de road down yonder. Dey won’t interfere wid de women folkses, 
but ef dey done cotch dis chile I’d be a gone coon sartin shore. 
{Opens door , looks out cautiously.) Dey isn’t in sight nowhar. 
Huh ! Reckon I done got scar’d afore I wus hurted. Shoo ! Come 
ter fink ob it, I isn’t erfraid ob de rebs nohow. Huh! No, sah ! 
I’d jes’ like ter see Gin’ral Lee er ole Jeff Davis, I would. Huh ! 
{Spits on hands a?id “squares off.") I’d say ter ole Jeff, take d.at! 
{Strikes out with left fist.) An’ den I’d say ter ole Lee, take dat. 
{Strikes out with right Jist.) Den dar dey’d bofe be : ole Jefi 


i8 


THE SPY OF GETTYSBURG. 


a-layin’ right dar, an’ Gin’ral Lee right dar — an’ I'd be the mon¬ 
arch ob all I convey. Yas, sah ! ( Struts down c.) 

{Enter Cyril and Jenison quietly , d. f., and come slowly down l.) 

An’as fo’any ob de common, low-down rebel truck, I’d like de 
chance ter meet some — one er a hunnerd — mek no diffunce u> 
me. I’d jes 1 say to’em — {Turns; sees Cyril and Jenison; 
runs down to r. front, badly frightened.) Oh-h-h ! P-p-please, 
mas'r reb don’t hu’t me — please don’t. I’se a poor, ole, harmless, 
iggerent, lame, sick, mis’ble, no-ercount, good-fer-nuffin’ nigger, 1 is, 
an’ I done didn’t nebber mean nuffin’ ’tall, so help me goodness 
gracious sakes erlive, I didn’t— please, mars’r rebs. 

Cy. What are you doing here ? 

Sol. W-w-well — well, sah yo’ see Mr. Mulvey an’ de wimmen 
folkses was a-visitin’ some udder folkses in Taneytown, when prog- 
nostifications kim erlong as to how you’d all be foughtin’ right 
smart soon, an’ dey done reckoned dey’d better go hum. So 1 kim 
on erhead ter see ef de paf war clar ob ’structions, an 1 I seed yo’ 
gemmen, an’ got scar’d, an’ — an’ — 

Cy. Is Mr. Mulvey coming this way ? 

Sol. Yes, sah — no, sah— I dunno, sah. 

Cy. Don’t lie to me, you old rascal. 

Sol. No, sah. {Aside.) Who am dat man ? Is’e seed him 
afore. 

Jenison. I reckon he’s lyin’, Cunnel. Let me tickle his dog¬ 
gone hide. {Pointsgun at Solomon.) 

Cy. Easy, Jenison. I’ll attend to him. 

Sol. {aside). Oh, Lo’d! I ’member him now. 

Cy. Are the Yankees strong in this locality ? 

Sol. Yas, sah. Dar’s mo'n forty million billion all eroun’ dese 
diggins. 

Jen. {disgusted). You dog-gone ole fool ! 

Sol. Can’t return de complerment, boss, kase you ain’t old. 

Jen. What! 

Cy. Hold your tongue, Jenison. Is Miss Meredith with Mr. 
Mulvey ? 

* Sol. Yas, sah. She’s dar — cornin’ up de road yondah. 

Cy. {aside). Here’s luck. Come, Jenison {goes up c ). we 
will put our horses out ot sight. And remember/you black devil, 
not a word about our presence here, or off goes your head ! 
{Exit, D. F.) 

Sol. Yas, sah. 

Jen. Tell ’em as how you hevn’t seed nobody har, or I’ll cut 
yo' heart out! {Exit, d. *f.) 

Sol. Yas, sah. Dat’s nice. Dat’s pow’ful nice. ‘“I’ll cut off yo’ 
head,” sez one. “ I’ll cut out yo’ heart,” sez tudder. Well, dey's 
gotter cotch de nigger ’fore they carves ’im. I knows what I’ll do. 
I'll jes’ lie low an’ ’larm de folkses {Exit, l. i e.) 


THE SPY OF GETTYSBURG. 


*9 


{Enter Mulvey, d. f.) 

Mul. Hello! This place looks deserted. Guess we’ll stop 
here and wait for that blasted nigger to show up. ( Goes to door ; 
calls.) It’s all right — come in! {Down c.) I wish that this 
infernal war was in Tunket! 


The idea! 


{Enter Mrs. Mulvey, Mabel, and Lottie, d. f.) 

Lot. Is it safe here ? 

Mrs. M. Did you see anybody? 

Mab. What a gloomy place ! 

Mrs. M. Gloomy? 1 should say it is. Looks just like a 
haunted house. 

Lot. Haunted ? Oh-h ! (Runs to d. f.) 

Mul. Hold on, hold on, my dear. Don’t get frightened before 
you’re scared. 

Mab. {laughing). 

Lot. But if I should see anything, I know I’d die. 

M-rs. M. I expect we'll all be killed in our beds before night. 

Mab. I wonder what has become of Solomon. 

Mrs. M. He is making tracks for home, you may bet 
no danger but what that precious old rascal will look out for him¬ 
self. 

Lot. Pshaw ! I don’t believe there is anything to be afraid 
of. {Starts toward l. i e.) I’m going to explore this old house, 
anyhow. 

Mrs. M. Lottie Evans, don’t you stir one step ! There may 
be a whole army of rebels concealed in that room ! 

Lot. Nonsense ! I’m not afraid. {At l. i e.) I’ll just show 
you that— {Retreats.) Oh ! There’s some one moving in there ! 

Mrs. M. Murder ! We’ll all be killed ! {All rush for d. f.) 


There’s 


(Enter Solomon, l. i e., cautiously .) 

Sol. Hi, dar! What’s de mattah ? {Aside.) Golly! Dey’s 
scar'd wuss’n me. 

Mab. It’s only Solomon. 

Mrs. M. Well, I never! He ought to be tarred and feathered 
for alarming us so. 

Mul. What are you hiding here for? 

Sol. Oh, Mr. Mulvey — stay right whar yo’ is. Don’t stir one 
step. 

Mul. Why not ? 

Sol. Why not ? Kase dar’s mo’n er hunnerd million rebel 
sojers out dar all eroun’, an’ dey’s got great orful big guns an’ 
pistiles so long {spreading arms), an’ dey’s done cotchin’ all de 
Yankees dey kin fine an’ eatin’ ’em right up. 

Mul. You’re crazy. 

Sol. No, I isn't crazy. 

Mul. Stuff! I don’t believe there is a rebel within ten miles 


20 


THE SPY OF GETTYSBURG. 


of us. Come, my dear (to Mrs. M.), we may as well be moving. 
( 7 hey go up.) Solomon, you accompany the young ladies. ( Exit 
with Mrs. M., d. f.) 

Sol. All right, sah. Now ef he goes out an’ gits eated up by 
dem ar’ rebs, ’tain’t none o’ my tauit. 

Mab. Don’t be worried, Solomon. They would find Uncle 
Moses very tough eating. 

Har. ( sings off R. 2 e.). “ Oh, vere, oh, vere is mine leedle wee 

tog, oh, vere, oh, vere can he be ?” (Girls run l. front; Solo¬ 
mon gets behind them.) 

Sol. D-d-don’t be scar’d — don’t be scar’d ! I’ll purtect yo' ! 

(Enter Harry, disguised, r. 2 e.) 

Har. Hello ! I vos got some visitors alretty, aind it ? (Aside; 
natural voice.) Mabel, here ! 

Sol. Oh, please, Mr. Dutchman rebel, please don’ eat us up — 
’specially me. I’se too ole an’ tuff, I is. 

Har. Py gracious ! Vot’s de matter mit dat orang otang ? 

Mab. You are not a rebel, are you, sir ? 

Lot. Of course not; he’s a Dutchman. 

Har. Veil, no— I vasn’t oxactly oferly mooch uf a rebel, but I 
vos sympathize mit em, aind it? 

Lot. You ought to be ashamed of yourself—a great, big, fat 
Dutchman like you in sympathy with those horrid men ! 

Har. Don’t you hadn’t petter talk so mooch, young vomans. 
I dinks maype you didn’t vos know who might be arount. (Co?nes 
down R.) 

Sol. (to Lottie). Dar! He’s gwine ter eat yo’ up now! 
( They go up l.) 

Mab. (aside). Can I be mistaken? (Comes slowly down r.) 

Har. (aside). I wish I could get a word with Mabel. 

Mab. (close to him). Go ahead. I’m listening. 

Har. Eh ? ' • 

Mab. (laughing). Ah, Mr. Dutchman, I know you. 

Har. Hush ! Not a word before them. 

Mab. Why are you disguised ? 

Har. Can’t you guess ? 

Mab. A spy ? (He nods.) Oh, Harry ! You are taking your 
life in your hands. 

Har. There is no great danger. 

Mab. But, Harry, I — 

Har. Wait—I must have a few words with you alone. 
(Aloud.) Yaw, dot’s so. Uf you’ll shust step into der next 
room, I shows you. 

Mab. Excuse me, Lottie. I’ll be back in a moment. (Exit 
with Harry, ii. 2 e.) 

Sol. Dar! We’ll nebber sot eyes on her agin, suah’s yo’ bon. 
Dat ar Dutchman ’ll done tote her off an’ hide her in er cave er 
suffin.’ 


THE SPY OF GETTYSBURG. 


21 


Lot. Solomon, you are the biggest coward I ever saw. 

Sol. Oh, no, I isn’t, Miss Lottie, no, I isn’t. Pussonally, I’se 
’fraid o’ nuffin. But I’se got yo’ an’ Miss Mabel unner my’tection, 
an' I hes ter be scarry on yo’ ercount. Ef dat ar’ Dutchman runs 
away wiv Miss Mabel, I nebber cud hole up my head in serciety 
agin nohow. 

Lot. Don’t be alarmed about us. 

Sol. But ’deed I is, Miss Lottie. 

Lot. Ha, ha, ha ! Oh, Solomon ! 

Sol. {huffily). Dat’s right now. Mek fun o'’ me! {Goes 
uf R.) 

{Etiter Tapley, d. f.) 

Tap. I thought I s-saw Blackburn around here. 

Sol. Dar’s annudder one ! Oh, Lo’d, now we is gonners ! 

Lot. Why, Mr. Tapley! 

Tap. Lottie! {They embrace.) 

Sol. (i aside , bashfully). Oh, pshaw ! 

Lot. We will excuse you, Solomon. 

Tap. Yes, Solomon, g-get out! 

Sol. Yas’m; yas, sah. {Goes l.) I’segwine. {Aside.) Now, 
she's gwine off wiv er reb. I knows whut I’ll do. I’ll jump outer 
de winder and surroun’ de house! {Exit. l. i e.) 

Lot. Aren’t you ashamed of yourself? 

Tap. C-c-certainly, I am. What for ? 

Lot. What for ? Why, for frightening me almost to death, and 
hugging me right before Solomon, and wearing a rebel uniform, 
and — er — everything. 

Tap. Yes. But I didn’t mean to frighten you, and I didn’t 
care a c-c-continental for Solomon, and I wear this confounded 
uniform because I c-c-can’t help it. 

Lot. Why not ? 

Tap. Because I haven’t g-got any other clothes. 

Lot. Oh, now ! 

Tap. And you know they n-nabbed me — drafted me, you see 
— before I could g-get away. And when Jeff Davis gets his 
clutches on a fellow, he h-hangs right on. 

Lot. What are you going to do ? 

Tap. Get captured, if possible, during this scouting expedition. 
S-say, Lottie, I'll surrender to you. 

Lot. To me! 

Tap. Yes. You captured my heart long ago, and now you may 
as well t-take the rest of me 

Lot. Very well. Lay down your arms. 

Tap. I c-can’t. They’re fastened to my shoulders. 

Lot. Sure enough. Then you may keep them. 

Tap. Thank you. But they're always yours to command. 

Lot. In what way ? 

Tap. This. {Embracing.) 


22 


THE SPY OF GETTYSBURG. 


Lot. Oh, bother! Come, Tim ( goes to d. f.), we’ll draw up 
the terms of surrender. 

Tap. Correct. Forward, m-march! (Exeunt, D. f.) 

(Enter Mabel and Harry, r. 2 e.) 

Har. You understand everything now ? 

Mab. Yes. But, Harry, must you go on this dangerous 
mission ? 

Har. Yes. We are on the eve of a mighty battle, and our 
General needs all the information possible. I know the country 
about here so thoroughly that I can aid him greatly. And with 
this disguise, I run but little risk. 

Mab. But you will be very, very careful, won’t you, Harry — 
for my sake ? 

Har. Yes, my darling, and for my own as well. I have no 
desire for a hempen necktie. 

Mab. And remember, if you get in a tight place, dodge the 
bullets and run. 

(Enter Cyril and Jenison, d. f.) 

Cy. Good-afternoon, Miss Meredith ! 

Mab. (alarmed). Mr. Blackburn ! 

Har. (aside). That scoundrel here ! 

Cy. Delighted to see me, no doubt. 

Mab. No, sir ; I am not. 

Cy. Ah ? That is very distressing, indeed. And, really, I am 
quite surprised, for I thought you would be overjoyed to see me. 

Mab. (defiantly). That is a falsehood — a cowardly falsehood ! 

Cy. Now, don’t be rude. By the way, who is this gentleman ? 

Har. None uf your beesiness ! 

Cy. All ? I was mistaken. It is not a gentleman, after all. 

Har. Veil, vot you vants mit mine house, eh? 

Cy. Your house ? 

Har. Yaw ; mine house. 

Cy. Look here, my friend, what are you, anyhow ? 

Har. Neffer you mind aboud me. Who vos you, eh ? Some 
tarn Yankee spies ? 

Cy. Perhaps you don’t like the Yankees ? 

Har. Not mooch, I don’t. Dey takes mine son Shake oaf to 
fight mit der plasted var, und dev cooms tramp, tramp, py mine 
house, py gracious, und steals mine shickuns und geeses, und mine 
flaw vos got her dayligths scaret oud, und she takes to der voods, 
und derduyvil vos ter pay. Blast der Yankees! 

Cy. So your wife took to the woods, eh? Well, my dear sir, 
some men would think that a blessing. 

Har. Perhaps so. Only, you see, dot I — 

Cy. That’s enough. Send a bill of damages to Uncle Sam. 
He’ll pay vou. Now, vanish ! 

Har. Vot? 


THE SPY OF GETTYSBURG. 


23 


Cy. Vanish ; clear out. 

Har. All right. Coom mit me, Miss. 

Cy. The lady will please remain. I have something to say to 
her. 

Har. She vaits here for some frients — und I stops too. 

Cy. (draws revolver). Leave the house ! 

Har. Yaw. I goes ven you talks mit a cannon like dot. Say 
— can I spoke shust a vord mit der lady ? 

Cy. Be quick about it! ( Speaks aside to Jenison.) 

Mab. ( aside to Harry). Oh, Harry, don’t leave me. 

Har. (- warningly ). Hush ! Don’t betray me. Have no fear. 
I will be within call. (Aloud.) Goot-bye, Miss. I hopes your 
frients come soon. Goot-day, boss. (Aside, at d. f.) Now, Cyril 
Blackburn, look out for trouble ! (Exit, d. f.) 

Cy. Jenison, keep watch outside. 

Jen. All right, Cunnel. (Exit, d. f.) 

Cy. Won’t you be seated, Miss Meredith? 

Mab. No, sir. I prefer to stand. 

Cy. As you choose. / prefer to sit. (Sits.) 

Mab. What have you to say, sir ? 

Cy. A number of things. 

Mab. Be brief then. I shall not remain here long talking with 
you, sir. 

Cy. Indeed? You astonish me. I am afraid that you do not 
grasp the situation. 

Mab. I think I do. 

Cy. I beg your pardon, but you do not. For I think you will 
remain here exactly as long as I wish. 

Mab. You coward! 

Cy. Thank you. If I remember rightly, you applied the same 
epithet to me at our last interview, some two years ago, when I was 
unable to resist. Now the scene has changed. You are in my 
power, my lady, and we will have no more hard names, if you please. 

Mab. Well sir, what do you want ? 

Cy. Yourself. 

Mab. Sir ! What do you mean ? 

Cy. I thought I spoke clearly, I want you, my charming little 
Yankee, and what is more I propose to have you. (Rising) Do 
vou think that I proposed to you for fun ? Do you think 1 accepted 
your scornful refusal meekly ? No. I told you then what to expect. 
I gave you fair warning, my proud beauty, that it would be unsafe 
to win my resentment. 

Mab. If you dare — 

Cy. One moment. You are going to Virginia as fast as horses 
can carry you. My troop is within call, and the reckless devils 
obey me like slaves. It is a short ride to the border, and once 
across the Potomac, all the Yankees in heaven or earth cannot 
save you from becoming my wife or— I think you understand. 

Mab. Have you no pity ? 


24 


THE SPY OF GETTYSBURG. 


Cy. Not a particle. Come, you may as well go quietly. 

Mab. I shall not go. 

Cy. Stubborn, are you ? Then, if I must use force {seizes her 
wrist), force it is. 

Mab. {screams). Ah, Harry! (Harry rushes in, n. f ., flings 
Cyril to l. front. Cyril draws sword and rushes at Harry.) 

Har. {drawing revolver with right hand, supporting Mabel 
with left arm). Stop, py shiminy gracious ! (Cyril recoils.) 

QUICK CURTAIN. 

ACT III. 

Scene. — Same as Act I. Evening. Lighted lamp on table, l. 

Discover Mulvey asleep on sofa. Mrs. Mulvey seated at 

table, l. Mabel and Lottie standing at c. d. 

Mrs. M. What a dreadful day this has been, to be sure! I 
wonder if I shall ever live through another night ? They have been 
doing nothing but kill each other for three whole days. {Pauses) 
Listen! I’m sure I heard another cannon. Do you think they 
will fight all night, Moses? Well! If he isn’t asleep! Moses! 
{Louder.) Moses Mulvey ! 

Mul. {sleepily). Huh? Did anybody speak ? 

Mrs. M. Did you ever see anything like that ? 

Lot. Like what? 

Mab. Why, aunt, what is the matter? 

Mrs. M. Your uncle, that’s what. Here we are, frightened 
nearly out of our senses over this dreadful battle, and yet that man 
lies there sound asleep. 

Mul. {yawns; sits up). Yes, a man must sleep sometimes, my 
dear. Y'ou have kept me awake the last two nights by asking me 
every five minutes if I thought we were likely to be killed. 

Mrs. M. I don’t believe you would care if we were. 

Mul. {yawns). Probably not. When a fellow is dead, he has 
very little interest in the matter one way or another. 

Mrs. M. Ugh ! I’ve no patience with you. 

Mab. {coming down). Now, aunt, don’t quarrel. We are in no 
danger. They are not sending their bullets this way, and, besides, 
we are miles from the battle-field. 

Mrs. M. Well, we could hear the dreadful roar of those awful 
cannon anyway, and I 'm sure that is just as bad. 

Mul. {half aside). I would much rather hear the rattle of mus- 
ketrv than the clatter of a tongue. 

Mrs. M. {angrily). Oh, would you indeed ! Then you better 
shoulder a musket instead of sleeping about the house all day ! 
{Exit, indignantIv, R. i e ) 

Lot. Ha, ha, ha! She rather had you there. 



THE SPY OF GETTYSBURG. 25 

Mul. Yes — kee! Mrs. Mulvey has got her back up now. 
You can always tell that by the way she elevates her nose. 

Mab. You should not tease her, uncle. 

Mul. I don’t, bless your dear heart. She enjoys it. Your 
aunt is never so happy as when she is in a row. Why, my dear, 
she’d quarrel with a pump handle if she couldn’t find anything else. 
I’m going into the library to continue my nap. If you hear an ex¬ 
plosion don’t be alarmed ; it will only be your aunt. Kee! (Exit, 
R. I E.) 

Lot. Do you suppose that villain Blackburn has escaped ? 

Mab. I don’t know. Harry left him bound and gagged. Then 
he sent his men away on a fool’s errand. ( They sit.) 

Lot. You had a narrow escape. 

Mab. Yes, indeed. I shiver every time I think of it. 

Lot. I wonder if Harry got back safely. 

Mab. I hope so, dear. And what became of your devoted 
Timothy ? 

Lot. Poor Tim ! Some of his men came up and he had to 
leave me. He promised to come here if he could get away with¬ 
out being seen. 

Mab. Mr. Tapley is not a very enthusiastic rebel. 

Lot. No, indeed. He was forced to join them, but at heart he 
is a strong Union man. 

Mab. Poor fellow ! And yet I suppose there are many more 
like him wearing the rebel gray. 

Lot. Tim says there are thousands of them ; and that is one 
reason why the South can never win. 

Mab. This must have been a dreadful battle. 

Lot. Awful. Do you suppose Tim was in it? 

Mab. I am afraid so, and Harry, too. Oh, Lottie, what if they 
should be killed ! 

Lot. It’s too dreadful to think about. Why, dear, we would 
both be widows before we are married. 

Mab. ( rising and crossing). Solomon ought to return soon 
with news from the battle. 

Lot. Precious little news we will get from him. 

Mab. (goes to c. d.). 1 do wish he would hurry. I have a 

strange, nameless dread as of some impending danger. I feel as 
if a dark, heavy cloud was gathering over me, shutting out all light 
and hope. 

Lot. There, there, dear. (Brings Mabel down to sofa , on 
which she sits ; Lottie kneels at her feet.) You are nervous and 
excited after what you have passed through. Now, don’t get blue, 
dear. Everything will turn out for the best. I am sure of it. 

Mab. I hope so, dear. But what if anything should happen to 
Harry ? 

Lot. Or to Tim. And just think, Mabel, how wicked I have 
been. I have laughed at him, and — and — (beginning to cry) 
t-teased him, and now maybe he is shot all lull of great, big 
ho-ho-holes! 




2 6 


THE SPY OF GETTYSBURG. 


Mab. Don’t cry, dear, please don’t. Remember your own 
advice. Everything will turn out all right. 

Lot. Yes, but you never made fun of Ha-Harry because he 
(sobs) uh — uh — stuttered — for he doesn’t — and I did of Tim, 
and if he’s dead I’ll commit su-su-suicide ! 

Sol. (off c. d.). Don’ stop me — don’ stop me, I tole yo’ ! 1’se 
so full o’ news I’se e’en erbout a bustin’. 

• (Enter Solomon, c. d. Comes down c.) 

Mab. (r. speaks rapidly , pulling him around at each question). 
Well? 

Lot. (l. ; same business). Well? 

Mab. Have you seen Harry ? 

Lot. Have you seen Tim ? 

Mab. Is he safe ? 

Lot. Is he killed ? 

Mab. Is the battle over? 

Lot. Speak! 

Mab. Do say something. 

Lot. Yes — speak or say something, do! 

Sol. (quietly). Yas’m. 

Mab. and Lot. Yes, what ? 

Sol. (quietly). Dey’s killed. 

Mab. and Lot. Who ? 

Sol. Ever'body. 

Mab and Lot. What! 

Sol. Jes’ whut I sez. Ever’body’s killed mostly— ’ceptin’ me 
— an’ — an’ I ain’t feelin’ well. 

Mab. Is the battle over ? 

Sol. Yas'm. It’s all ober creation. (Rapidly .) Dar’s sojers 
up de road an’ down de road, an’ in de road, an’ cross de road, an’ 
1 rode my ole mule mo’n fo’ty hunnerd miles ter keep outen de 
way, an’ de foughtin’ wus jes awful, an’ I seed er sojer jes’ a‘ dead 
us he could live, an’ dar's millions an’ billions deader’n he wus, 
an’—an’ — dar’s piles uf ’em mo’n fifty feet high —all dead ! 

Mab. Nonsense ! I don’t believe you were near the battle¬ 
field. 

Sol. Yo’ duz? (Turns to Lottie.) And duz yo’ too ? 

Lot. Yes, I do ! 

Sol. Den yo’ bofe is drefful mistooken. Din’ I stood right dar, 
an’ din’ I see Gin’ral Meade an’ Gin’ral Lee a-foughtin’ each udder 
mo’n two hours wivdere swordses an’ pistiles, an’ warn’t Presidum 
Linkum a-standin’ dar all de time ter see fa’r play ? Huh ! 
Reckon I knows what I’se talkin’ erbout! (Goes l ) 

Mab. Come, Lottie, perhaps we can induce Uncle Moses to 
rideout and get some reliable news. ( They go L.) Oh, Solomon, 
I’m ashamed of you! (Exit with Lottie, r. i e.) 

Sol. Dar ! Dar’s er case ob woman’s inhermaity ter man. 
Arter riskin’ my life gvvine so clus ter de fight dat I cud h’ar ’em 



THE SPY OF GETTYSBURG. 


27 


shootin’ an’ see de bullets flyin’ an’ brungin’ ’em de bes’ news I 
cud mek up, dey done sez dey’s ’shamed er me. Huh ! spec ef 
I d tole ’em as how I mos’ got my own head shot off dey’d only 
laffed. 

(Enter Harry, c. d., disguised as the Dutchman.} 

Har. Veil, py shiminy ! 

Sol. Hey ! Dar’s dat Dutchman rebel! 

Har. How you vas, coal tar ? 

Sol. Now look har, Mr. Rebel, yo’ better git. 

Har. Yaw? Vot I gits, eh? 

Sol. Git outer de house. 

Har. Yaw? Dot so? 

Sol. Look har, Mr. Dutchman, I’se gotter eye on yo’. 

Har. So ? Veil, den, I tinks you petter took dot eye avay off 
me ride avay soon pretty quick, ain’t it ? 

Sol. Hull ! P’raps you done fink I’se scar'd o’ you. 

Har. Oh, dry oop. You vas make me some tired, you ole 
orang otang. 

Sot. Don’ yo’ ’ply no excavations to me, sah, or I’ll done gib 
you a lift wiv my right bowah. ( Lifts right foot.} 

Har. So ? 

Sol. Yas, sah. I’ll done kick yo 1 ole Dutch head'off. 

Har. Yaw ? 

Sol. (threatening}. Don’ yo’ “ yaw ” me, er I’ll bust yo’ right in 
de mouf. (Shakesfist under Harry’s nose.} Cl’ar out, duz yo’ 
har ? 

Har. Vot I clears oud, eh ? 

Sol. Don’ stan’ dar talkin’ er yo’ll fink de day of juberlation am 
come. (Shakes fist.} Yo’ har me spoke ? 

Har. (suddenly}. Yaw? Veil, py shiminy gracious, maype you 
vants ter fight! (Throws off" hat and coat.} Coom on, you ole 
tar bucket. (Prances about.} Coom on ! I gives you all you 
don't vant ! 

Sol. (frightened, backing away}. Hole on dar, hole on. Yo’ll 
git hurted — yo’ will, sho’s yo’ bo’n. N-n-now hole on ! 

Har. Git oud ! (Follows hint up.} Coom on. I pulls de vool 
111 it vour head off. 

Sol. ’Sense me, sah. I ’cept yo’ ’pology, I duz. I’se sartin shore 
es vou’s er geniman — yes, yo’ is. 

Har. 1 tinks you vos a kerfounted coward. 

Sol. ’Scuse me, sah, but you’s mistooken, ’deed yo’is. I isn't 
’fraid o’ nuffin, sah, only it’s ergin my principles to quarrel arter 
lark. 

Har. Oh, git oud! (Puts on coat.} 

Sol. It am er positable fac’ ’sah. But scuse me, sah — who am 
I ter hab de pleasure of ernouncin’ to de folkses ? 

Har. Yaw? You vants my name ? 

Sol. Sartin, I duz. 


28 


THE SPY OF GETTYSBURG. 


Har. My name vos Johonnas Peter Lunk-van-link-ker-hop-and- 
go-fetch-her. 

Sol. Fo’ Lo’d sake ! Whoo! Say, did dat name grow up wiv 
yo’ ? 

Har. Nix ; I finds dot name mineself. She vos runnin’ around 
loose und I took her in. 

Sol. Well, yo’ mus’ git pow’ful weak sometimes totin’ it eroun'. 

Har. Yaw, dot’s so. 

Sol. Den sot right doun an’ took a rest while I tells Miss 
Mabel you’s har. Mr. — Mr. — 

Har. Johonnas Peter Lunk-van-link-ker-hop-go-fetcher. 

Sol. Zactly. ( Aside .) Ef he should step onto dat name, he’d 
fall down an’ broke his neck, sartin. (Exit, r. i e.) 

Har. This get-up must be a good one. Even old Solomon 
failed to recognize me. It is getting tiresome though, dodging 
around in this way and taking no active part in the glorious work. 
How I longed to be with the boys to-day when Pickett's grand 
charge was broken, and his men went reeling and staggering down 
the hill! It is well that war is so terrible, or we might all become 
too fond of it. 

( Entei' Mabel, r. i e.) 

Mab. Harry — is it you ? 

H ar. Safe and sound. (Takes her hands.) 

Mab. I am so glad ! Take off that horrid disguise and let me 
have a look at you. (He removes wig and mustache.) There — 
you’re something like yourself once more. Now tell me—are you 
wounded ? 

Har. No. (They sit.) 

Mab. Not the least little bit? 

Har. Not a scratch. 

Mab. Oh, I’m so sorry ! 

Har. The deuce you are ! 

Mab. Oh, I meant just the least little bit of a wound — one that 
wouldn’t hurt any, you know. 

Har. Ah, I see; you wanted me to be an interesting invalid, 
eh ? 

Mab. That’s it. I have lots of nice things for you, and — 

Har. Well, I must disappoint you, dear. But there will be 
plenty of poor fellows in the hospital at Carlisle who would appre¬ 
ciate the good things reserved for me. 

Mab. The poor fellows ! They shall have them, Harry. But 
tell me — is the battle over ? 

Har. Yes — it is over. 

Mab. And you have won ? 

Har. Yes. After three days of steady fighting, in which the 
slaughter has been something terrible, Lee has been'repulsed. 

Mab. Will this end the war? 

Har. Oh, no, my dear; the end is far off yet. But I think this 
battle will be the turning point. 


THE SPY OF GETTYSBURG. 


2 9 


Mar. How dreadful it all is ! 

Hak. I am glad of one thing: I shall be relieved from this de¬ 
testable spy work for a time at least. If you will excuse me, I will 
run up to my room and throw aside this toggery, {Takes a large 
revolver from belt.) Here is a pretty toy for you. 

Mab. ( retreating in alarm). Oh ! 

Har. Don’t be alarmed. It is not loaded, and my ammunition 
is all gone. 1 used my last cartridge in a skirmish this afternoon. 

Mab. {takes revolver daintily). How savage it looks — the 
ugly thing! You didn’t kill anybody with it, did you ? 

Har. I never inquired. {Goes up c.) You might ask the re¬ 
volver. It has talked a good deal to-day. ( Exit, laughing, c. D.) 

Mab. {to revolver). You hateful thing ! Did you ever kill any¬ 
body ? Did you ? Why don’t you answer ? {Shakes revolver.) 
You great, horrid, ugly brute ! Lost your voice, have you ? {Re¬ 
peats shake.) Eh ? Well {muzzle to nose), I don’t wonder, with 
such a breath ! Lie there, you monster {puts revolver on table), 
and don’t you dare stir. {Exit, l. i e.) 

{Enter Tapley, c. d.) 

Tap. Good-evening. I hope I d-don’t intrude. Eh? Nobody 
here. Then I m-may as well make myself at home while I can. 
{Sits.) I’m in a d-devil of a mess. Confound it! 

{Enter Lottie, c. d.) 

Lot. Hello, Tim ! Where on earth did you spring from ? 

Tap. I sprang from my h-horse just now. 

Lot. Where did you come from ? 

Tap. From Gettysburg. Our army has been whipped out of 
its b-boots, and the retreat will begin to-morrow. We are g-going 
ahead to hold some of the passes. 

Lot. Well, you just won’t, Mr. Timothy Tapley. You surren¬ 
dered to me once, and now I am going to hold you as a prisoner of 
war. 

Tap. I wish you c-could, Lottie, but I’m afraid it’s impossible. 

Lot. Why ? 

Tap. Because that scamp of a Blackburn will be here directly. 
I hurried on to warn you. It was all I c-could do. 

Lot. Tim, you’re an angel! {Throws arms around his neck.) 

Tap. Here’s a p-pair of us. 

{Enter Mabel, l. i e.) 

Mab. Ahem! shall I retire? 

Lot. {crosses to r. 0 /Tapley). Oh, no, indeed. 

Mab. I am glad to see you, Mr. Tapley. 

Tap. Thank you. You see, Lottie and I were — that is — 

Lot. {prompting). Rehearsing — 

Tap. R-rehearsing — 

Lot. {same business). A scene from — 


30 


THE SPY OF GETTYSBURG. 


Tap. A s-cene from — 

Lot. ( same ). “The Honeymoon.” 

Tap. The honey m-m— confound it — you know. 

Mar. Ha, ha, ha! I can guess it. 

Lot. And, oh, Mabel ! that odious, wicked Mr. Blackburn is 
coming here, and — 

Mab. {alarmed). Coming here ? 

Tap. At any moment. 

Mab. {aside). What shall I do ? I must go and warn Harry. 
{Starts r.; the others go up L.) 

{Enter Cyril, c. d.; Mabel pauses.) 

Cy. Good-evening. Quite a little party. Tapley, leave the 
room and take that girl with you. 

Tap. Thank you, Colonel. ( Salutes and exit with Lottie, c. d.) 

Cy. Miss Meredith, do you recall the delightful little meeting 
we had in this very room three years ago? 

Mab. I wish to recall no memory of you, sir. 

Cy. How very distressing! Though I really cannot blame you 
for wishing to forget a little incident that happened recently. 
(M abel starts r.) Stop! 

Mab. Well, sir. 

Cy. Where are you going ? 

Mab. It is no business of yours, sir. 

Cy. There you are mistaken as usual, for it is very much my 
business. 

Mab. What do you mean ? 

Cy. I mean that you do not leave this room at present. 

Mab. Am I a prisoner in my own house ? 

Cy. If you wish to put it in that way. 

Mab. This is an outrage ! 

Cy. Very likely. You thought it nothing outrageous a few' days 
ago when you and your sneaking, spying cad of a lover made me 
the victim of a contemptible Yankee trick. 

Mab. That “ trick,” as you call it, was no more than you de¬ 
served, Cyril Blackburn. Mr. Lenox met you face to face. It was 
man against man then — or, rather, man against demon: for there 
is not a drop of honest, manly blood coursing through your cow¬ 
ardly veins ! ( Crosses. ) 

Cy. Go on. This is really quite exciting. You have no idea 
how lovely you look when you attempt high tragedy. 

Mab. I wish I knew a word strong enough to tell how much I 
detest you. 

Cy. That feeling is mutual to a certain extent. 

Mab. Indeed! 

Cy. Yes, indeed. For if I did not love you as madly, unreason¬ 
ably as I do, I am certain I could hate you with all my heart. 

Mab. I wish you did. 

Cy. Oh, no, you do not; for in that case instead of my wife, 
you would become my slave. 


THE SPY OF GETTYSBURG. 31 

Mab. I would rather ten thousand times be a slave than the 
wife of a monster like you! (Crosses.) 

Cy. (sternly). Have a care, girl. 1 admit that I am no saint. 
So don’t provoke me, or you will regret it. 

Mab. (facing him). I am not afraid of you, bully and coward 
that you are! 

Cy. 1 certainly admire your pluck. I shall find rare sport in 
taming you, my little Amazon. 

Mab. You will never tame me. 

Cy. I’ll risk it. (Carelessly.) Where is he ? 

Mab. He ? Whom do you mean ? 

Cy. Your Yankee lover, of course. 

Mab. My—my lover ? 

Cy. Certainly. He is here, I believe, and I really wish to have 
an interview with him. It will be delightful, I am sure. (Mabel 
sinks into chair.) Ah, you are not so defiant now ! 

Mab. But I — I — 

Cy. Now I am certain that he is here. Ah ( gleefully ), I have 
him at last! He cannot escape, for there is a double guard of men 
about the house. (Savagely.) Come ! Where is he ? 

Mab. I — I cannot tell you. 

Cy. Then I will look for myself. (Goes to c. d.) Jenison, 
come in! (Enter Jenison, c. d. ; salutes.) Are the guards 
thoroughlv posted ? 

Jen. Yes, sir. 

Cy. Good! Is your rifle loaded ? 

Jen. Yes, sir. 

Cy. Very well. Remain here. (Jenison takes position at c. d.) 
Now, Madam, for the last time — where is the fellow? 

Mab. (aside). What shall I say? 

Cy. No answer, eh? (Draws revolver.) All right! I’ll soon 
find him. (Starts R.) 

Mab. (facinghim). You shall not! 

Cy. Get out of my way ! 

(Enter Lottie and Tapley, c. d.) 

Mab. I will not! 

Cy. (raisingfist). What! 

Tap. Stop! 

Cy. Eh ? You here ? 

Tap. Yes ; I’m here ! 

Cy. (impatiently). Well, then — what is it ? 

Tap. Excuse me for saying it, Colonel, b-but I think you’re an 
infernal scoundrel. 

Cy. You think so? Well, you will not excuse me for saying 
that I know you are an infernal fool. And, what is more, you will 
report immediately at headquarters, under s'trict arrest. Here, 
Jenison, restrain this little tury. (Points to Mabel.) 

Tap. (as Jenison approaches Mabel, collars him and flings 

him L ). No, you d-don‘t ! 


32 


THE SPY OF GETTYSBURG. 


Cy. What! Dare you interfere ? 

Tap. ( boldly ). Yes ; I d-dare ! 

Cy. {with suppressed rage). Very well, sir. I will settle with 
you later. Now, Madam, stand aside ! 

Mab. No! 

Cy. Then, I’ll make you! {Seizes Mabel’s arm; she 
screams.) 

{Enter Harry, in regular uniform , c. d.) 

Har. {hurls Cyril to r. front). Hands off, you scoundrel ! 

Cy. Guard the door! (Jenison grasps gun, runs to c. d.) 

Mab. Harry, what have you done ? 

Har. {embracing and soothing her). There, there, my darling ; 
you have nothing to fear. 

Cy. But you have. {Intensely and slowly.) For, remember, 
you infernal spy, you are my prisoner, and this is your last night 
on earth ! 

QUICK CURTAIN. 


ACT IV. 

Scene. — Same as Act II. Lights quarter down. 

{Enter Jenison and Harry, d. f. Jenison carries lighted 
lanter?i and rifle. Harry’s arms are bound behind his back.) 

Jen. Thar. Set down, and make yerself t’ home. 

Har. Am I to remain here all night, bound like a slave ? 

Jen. Dunno. But it ’pears t’ me you orter not grumble, my 
fine feller. You had your fun t’other day, when you left the Cunnel 
in this very room, not only bound, but gagged. 

Har. What a mistake 1 made in not killing the scoundrel as I 
would a snake ! {Crosses and sits.) 

Jen. Yer mought er done it, shore, an’ I low es how yer wus er 
dog-gone fule ter let sech er right smart chance go loose. But 
bein’ es how yer did, thar’s jes’ no sorter use croakin’ now. 

Har. Well, what do you propose doing ? 

Jen. Nuthin’! 

Har. I’m glad to hear it. 

Jen. Don’t holler’fore yer outen ther woods. I ain’t goin’ ter 
do nothin’, I ’low, es my orders is to do nuthin’, leastways, afore 
Cunnel Blackburn gits har. But when he do arrove, I reckon es 
how you'll hafter be a-sayin’ of yer pra’rs mighty smart, fur I ’low 
you’ll go ter kingdom come ’thout much waitin’. 

Har. Will he murder me in cold blood ? 

Jen. Sorter. Now, I ’low es how ’tain’t ’zactly reg’lar. But 
bein’ es yer a cussed Yank, we uns is dead sot agin you uns, fer 
ef you uns hadn’t come a foughtin we uns, thar’d a ben no war. 


THE SPY OF GETTYSBURG. 


33 


An’ howsomever moreover es you’s a spy, yer can’t erspect no 
more'n a spy gits. {Goes up.) So take er easy. {Aside.) Pore 
devil ! I'm jest fule ernuff ter be sorry fer him. {Exit, D. F.) 

Hak. {seated). So this is to be the end of all — trapped like a 
rat! Held at the mercy of that heartless scoundrel, who will 
rejoice to see me die an ignominious death. Oh ! if 1 could be free 
tor a moment — free to meet him on equal terms ! {Rises.) And 
my poor Mabel — is she, too, in his dastardly power ! The thought 
is maddening! I must, I will escape ! {Starts up l., when) 

{Enter Cyril and Mabel, d. f.) 

Cy. (c.). Here you are. I have brought you company. 

Mab. (r. c.). Harry ! {Starts towards him.) 

Cy. {intercepting). Not just yet, if you please. 

Har. (l.). So you have brought this poor girl here to make 
your revenge more complete. Oh, you are a brave man ! How 
your boasted chivalry must rejoice in claiming you as one of its 
number ! 

Mab. Don’t say that, Harry ; for the worst outlaw in the 
country, north or south, would scorn to be classed with him. 

Cy. Indeed ! You are a couple of pleasant people, upon my 
word. After I have taken the time and trouble to bring you here, 
so that you might see your lover once more before I string him up, 
instead of thanking me you spend your precious moments in abuse. 
Now that’s what I call ingratitude. 

Mab. Cyril Blackburn, I — 

Har. Please do not bandy words with him, Mabel. The cur 
isn't worth your notice. 

Cy. Evidently my kindness is thrown away. Shall I follow 
your example and put a gag between your teeth ? 

Har. If you choose. When I served you in that way it was to 
prevent you from calling in your horde of cut-throats — not because 
1 was afraid to hear you speak. 

Cy. My dear fellow, when you consider that in a short time you 
will be dancing on the small end of nothing, don't you think you 
should give us your blessing and say good-by ? 

Har. Oh, you inhuman devil! Is there any refinement of 
cruelty greater than yours ? 

Cy. I am not answering conundrums. But enough, of this. 
{Sternly.) Since I first met you, sir, I have received nothing but 
insults and contumely at your hands. This young lady has like¬ 
wise favored me with scorn and bitterness. I swore, if the time 
ever came, that you should pay dearly for every taunting word and 
bitter insult. And now the time has come. You have played the 
spy—you have fallen into my hands — and you know what your 
fate will be. 

Mab. Are you so merciless ? 

Cy. Quite so. 

Mab. Is there no alternative ? 


34 


THE SPY OF GETTYSBURG. 




Cy. Yes — one. 

Mab. I thought you could not be entirely heartless. 

Cy. You are right, my dear young lady — entirely right. 1 am 
of an exceedingly gentle and forgiving disposition, as you will 
see. 

Har. ( impatiently ). Now don't be sarcastic ! 

Cy. And don’t be impatient. 

Mab. (anxiously'). Yes, but — but what do you propose ? 

Cy. Simply this — and you will see how lenient I am : if you 
will accompany me South — freely and without reserve — if you 
will overcome your strange, unwarranted dislike for me, and marry 
me without question — then this man shall be spared. 

Har. Do you think I would allow such a sacrifice ? 

Cy. I fail to see how you can help yourself. 

Har. Perhaps I cannot. But there is a just God in heaven 
whom I believe will — 

Cy. Excuse me. I don’t care to hear any preaching. 

Mab. (kneeling beside Harry). Harry, what shall 1 say ? 

Har. Spurn his insulting offer. Life is dear to me, Mabel, but 
rather than see you that man’s wife 1 would die a thousand deaths. 

Cy. (sneering). Very pretty indeed, and quite heroic, I’m sure. 
What a pity it is you have only one life to lose. 

Mab. No, no, Harry, you shall not die. To save your life 1 — 
I will marry that man. 

Cy. Now you are talking sensibly, my dear. I have some 
orders to give my men, and then we will start. So make your 
adieux. (Exit, D. F.) 

Har. Mabel, you must not, you shall not, throw away your life 
for me. 

Mab. There is no escape. 

Har. But 1 tell you I would rather die than accept life on such 
dishonorable terms. 

Mab. Hush. You must not talk that way. It breaks my 
heart to leave you, Harry ; but think how I would feel if you were 
lying cold and dead, when a word from me would save vou. Be¬ 
sides, you know we are both in his power, and my refusal would 
only sacrifice you without saving me. 

Har. (springing up ). It is enough to drive a man frantic! If 
I were only free from these cursed bonds (struggles to free him¬ 
self ), then I could throttle the scoundrel. 

Mab. Perhaps I can loosen them. (Tries.) No — it's no 
use. The knots are drawn securely. 

Har. I wonder if there isn’t a knife somewhere about this old 
hou e. 

Mab. I will search. (Starts toward table , when) 

(Enter Solomon, cautiously , r. 2 e.) 

Sol. ’Sh ! Miss Mabel! 

Mab. What! Solomon! 


THE SPY OF GETTYSBURG. 35 

Sol. ’Sh ! Don’ say nuffin’. ( Turns to door.) Ef yo’ please, 
sab, come in. Dey’s har. 

{Enter Tapley, r. 2 e.) 

Har. How did you get here ? 

Sol. I done fotched him. I see de doah was guarded, so we 
clum in de winder. 

Har. Has either of you a knife ? 

Tap. No. And Blackburn t-took my sword when I was 
arrested. 

Sol. Say — I’se got er razzer. 

Mab. A razor? That will do. Give it me — quick ! 

Sol. Yas’m. {Searches pockets rapidly .) Whar am it ? 
Whar am it? Fo’ de good Lo’d’s sake, ef I hasn’t drapped it, 
sho’s you bo’n. 

Har. Are any Federal troops near by ? 

Tap. Y-yes. There’s a large body of cavalry over on the 
Baltimore p-pike— about a quarter of a mile away. 

Har. What are you, Tapley ? 

Tap. I’m a d-damn fool, I expect, but I’m going to help you, 
for you n-need it. Don’t say a word. Come, old man, we’ll ride 
down and bring the bluecoats. 

Sol. Yes, sah. We’ll ride like de debble. {They exit , R. 2 E.) 

Har. Now look for a knife. 

Mab. Oh, yes. Perhaps there’s a drawer in this table. Yes. 
{Opens it; finds large table knife.) The very thing! {Closes 
drawer.) 

Har. Quick ! Cut the bonds. 

{Enter Jenison, d. f. ; looks aroimd.) 

J en. All alone ? (Mabel has knife concealed in folds of dress.) 
I sorter suspicioned I heerd other voices talkin’. 

Har. We are alone. 

Jen. It’s all right, I reckon. Time’s most up, though. Ther 
hosses is bein’ saddled, an’ we starts soon. So yer better be sayin’ 
good-by. {Exit, d. f.) 

Har. Now! 

Mab. {cutting rope). This knife is dreadfully dull. If it slips 
I may cut you. 

Har. Never mind me. Cut away. 

Mab. There — you are free at last. {Replaces knife in table 
dr a wer .) 

Har. Thank Heaven ! {Rises and stretches arms.) 

Mab. {at d. f.). Be careful! Some one is coming! (Harry 
resumes position as if bound.) 

{Enter Cyril, d. f.) 

Cy. Have you said good-by ? 

Har. Very nearly. Let me have one more word. 


36 


THE SPY OF GETTYSBURG. 


Cy. {to l. front). Take a dozen, if you choose. I’m not 
selfish. 

Har. Thank you. {Aside to Mabel.) Say nothing, whatever 
I do. 

Mab. But he is armed. 

Har. Never fear; I can master him. {Continues as if speak- 
ing.) 

Cy. {aside). Does that fellow imagine he is going to escape? 
He is a fool if he does. Soon as I get the girl out of hearing I’ll 
make a ghost of him quick enough. {Aloud.) Time’s up. 

Har. So you are determined that this lady must become your 
wife ? 

Cy. Certainly I am. 

Har. And on that condition you promise to release me ? 

Cy. You have my word. 

Har. Is that all ? 

Cy. That is enough. 

H ar. How do I know you will keep it? 

Cy. A gentleman’s word is a bond. 

Har. A gentleman’s — of course. 

Cy. {threateningly). Don’t you dare insinuate that — 

Har. I insinuate nothing when speaking to a man like you. 

Cy. Hold your tongue, or I’ll tear it out. Come, Miss. 

Mab. {shrinking). No, no. 

Cy. Come, I say ! 

Har. Be patient with her. Remember, it is a hard alternative. 

Cy. I have no time for more words. 

Har. Answer one question. 

Cy. {iffipatiently). Well— what is it? 

Har. Is your word our only guarantee? 

Cy. Yes, I tell you. 

Har. Then we refuse to accept your terms. 

Cy. Do you, indeed ! Why, you poor fool, it makes no differ¬ 
ence. The girl is mine, and you will hang anyhow. Curse you! 

Har. Perhaps so — perhaps not. 

Cy. {laughmg). Well, you certainly have plenty of faith. Who 
can prevent it ? 

Har. I can ! 

Cy. You ? 

Har. {hands still held as if bound). Yes, I. In all your 
scheming, Mr. Blackburn, there is one thing you forgot. 

Cy. And what is that ? 

Har. Not to push a desperate man too far. 

Cy. What do you mean ? 

Har. I mean that your boasted power is broken. Now 
defend yourself! {Springs at Cyril, clutching him by the throat ; 
a desperate struggle ; Cy ril is forced to his knees fat that mo¬ 
ment Jenison enters d. f. ; puts gun down , rushes to Harry, 
and flings him off ; Cyril rises quickly, gets Jenison’s gun and 


THE SPY OF GETTYSBURG. 


3 7 


aims at Harry ; meanwhile Mabel crosses to Harry and stands 
between him and Cyril.) 

Mab. Fire if you dare ! 

Cy. {fiercely'). Stand aside, or I’ll kill you both ! 

(Enter Tapley and Solomon, quickly, r. 2 e.) 

Tap. N-no you won't! (IVretiehes gun from Cyril; Jeni- 
SON exit quietly , D. F.j 

Cy. Curse you, what are you doing here ? 

Tap. Well, you s-see, Colonel, when you ordered me to report 
to headquarters I c-couldn’t find them in the dark ; and I g-got 
captured and paroled, and t-that’s all. 

Cy. Give me that gun ! 

Tap. C-couldn’t think of it. (Raises it.) 

Sol. Gib him de load, nohow ! 

Mab. Stop, Mr. Tapley. (He lowers gun; noise outside — 
yells, cheers, and several shots, off D. F.) 

Cy. What does that mean ? 

Har. Our boys have arrived, and you in turn are a prisoner. 

Cy. Not yet, for I’ll never be taken ! (Draws sword , hurls 
Tapley aside and rushes out d. f. ; Solomon yells and crawls 
under table.) 

Sol. (peering out. the others at D. f.). Am he gone ? (Crawls 
out.) Say, why’s yo’ all so skeer’d ? Why din’ yo’ help me cotch 
him? (Shotsfired.) O-oh! (Runs down.) 

Tap. They’ve nailed him. He’s d-done for. 

Sol. Am he dead? Golly! Den I’se gwine right out dar an’ 
capture him — see’f I don’t! (Exit, D. f.) 

Har. Tapley, old fellow, I owe my life to you. 

Tap. D-don’t speak of it. 

Mab. How can we ever thank you ? 

Tap. By k-keeping mum. 

(Enter General Meade and Captain Warren, d. f.) 

Meade. Ah, Captain, glad to see you. Safe and sound, eh ? 

Har. (saluting). Entirely so, sir. 

Meade (to Warren). Order an active pursuit. 

War. Very well, sir. (Salutes and exit, d. f.) 

Meade. You had a close call, I hear. 

Har. Rather too close for comfort, eh, Mabel ? (Arm around 
her.) 

Meade (dryly). You look quite comfortable now. This young 
ladv, I judge, is — 

Har. (presenting her). My affianced wife, Miss Meredith. 

(Lottie runs in, d. f.) 

Lot. Oh, Tim ! Are you killed? 

Tap. Yes — dead as a door-nail. 

Meade. Eh ? 

Tap. General, 1-let me also present my affianced wife, Miss 
Evans. 


38 


THE SPY OF GETTYSBURG. 


Meade. Why, how is this ? 

Tap. It’s all right, General. I’m a p-p-prisoner of war. And 
I say — I don't want to be exchanged under f-forty or fifty years. 

Meade {smiling). All right. (Converses with Harry and 
Mabel.) 

Tap. How did you g-get here ? 

Lot. When that dreadful Blackburn carried off Harry and 
Mabel, we saddled our horses — Uncle and I — and started for 
headquarters. We learned that General Meade and a body of 
cavalry were coining this way, so we hurried on. My horse was 
the fastest, and I left Uncle behind. (7 key come down l.) 

Meade, (c). I must leave you now, young lady. Captain 
Lenox, you have done the country great service during the past 
week, and, if nothing prevents, you will soon head a regiment. 

Mab. A colonel ? 

Meade. He has earned it. 

Har. Thank you, General. And although the clouds of war 
still lower above us, yet in days to come the glorious sunshine of 
peace will brighten even the blood-stained field of Gettysburg. 


CURTAIN. 


A NEW PLAY FOR GIRLS 



Chaperon, 


A COMEDY IN THREE ACTS, 

By RACHEL E. BAKER, 

PART AUTHOR OF “ AFTER TAPS,” ETC. 


Fifteen female characters. Scenery not difficult. Costumes, tennis gowns 
and modern street and evening gowns, with picturesque 
Gypsy costumes for Miriam and Jill. Time 
in playing, two and a half hours. 

Price. 25 cents. 


SYNOPSIS s 

AJT I. Jack and Jill. A love game. Cousins for sale. “ My kingdom for 
a hairpin.” The French teacher. A few conundrums. Miriam and Jill. 
The Gypsy’s blessing. Nora and the French language. Billet-doux and 
Billy Manahan. An invitation. “I will be your chaperon!” Telling for¬ 
tunes. The Tennis Drill. Tales out of school. Joyce and the beggars. 
The accusation. Joyce to the rescue. “I cannot look into your eyes and 
believe you guilty.” Under a cloud. The Gypsy’s prophecy. “Miriam the 
Gypsy has spoken, and she never breaks her word.” 

ACT II. The Chaperon. In the studio. Nora and the man in armor. A 
spiritual manifestation. Eavesdropping, Locked in. The artist’s model. 
A little lark. The bogus chaperon. The skeleton in the closet. Romeo 
and Juliet adapted. Miriam the Gypsy. The secret of the papers. “God 
be with them and with those to whom they belong!” Masquerading. 
Nora’s jig. A surprise and an escape. The school-ma’am outwitted. The 
Minuet. Jill and Joyce. The locket. “ It means that the waif has found 
a home at last! ” Sisters. The Gypsy again. “ Your duty lies with them, 
make their lives as happy as you have mine.” 

ACT III. “Like Other Girls.” A five o’clock tea. Anticipations. The 
French teacher again. A lesson in politeness. A nice hot cup of tea. 
Nora’s revenge. Apologies. Mademoiselle’s confession. “ I took it; it was 
only for ze revenge.” Forgiveness. “ Bushing tea.” Confessions. From 
grave to gay. An Adamless Eden. Superfluous man: a feiv portraits of 
him. Explanations. The fulfilment of Miriam’s prophecy. A mystery 
cleared. ‘ The little one I mourned as dead is alive.” Our chaperon. 






A NEW BORDER DRAMA 


RIO GRANDE. 

AN ORIGINAL DRAMA IN THREE ACTS. 

By CHARLES TOWNSEND. 

Author of “The Spy of Gettysburg,” “The Woven Web,” “Border 
Land,” “Broken Fetters,” etc., etc. 


Seven male, four female characters. Modern costumes ; scenery, one interior 
and one exterior. Time in playing, two hours and twenty minutes. 


This is the latest play of Western life, and one of the finest dramas ever 
written by this brilliant and successful author. Its interest is unflagging, it is 
full of bright, clean fun, and roaring comedy situations alternate Avitli thrilling 
and pathetic scenes. Every character is a good one and worthy of the best 
talent. This piece can be played in any hall or upon any stage, as there are no 
difficulties in costumes or scenery. Printed directly from the author’s acting 
copy, and preceded by a chapter of “Remarks” in which are given, in the 
author’s own Avords, special instructions regarding the play, the acting of each 
part, and all necessary details of stage-management. 

Price, ... 25 Cents. 


SYNOPSIS : 

ACT I. The First Day. — Sitting-room at Lawton’s. Judge Biggs renders an 
opinion. Casey in doubt. Segura fails to score. Paul and Retta. Jealousy. 
The arrival. Mamie and the Judge. Trouble ahead. A threatened quarrel. 
The proposal. Refused. “ Answer him nothing.” The voav. Tableau. 

ACT II. The Second Day. — The lawn near the parade ground. The holiday 
soldier. Johnnie in trouble. An “American aristocrat.” Cadwallader 
frightened. Biggs indignant. The Indian outbreak. Segura’s plan. A 
cunning plot. The marriage certificate. Paul and Retta. Some clever 
acting. Segura’s triumph. The quarrel. A broken engagement. “ Boots 
and saddles ! ” Biggs as a guide.” “ I won’t cry.” The departure. Tableau. 

ACT III. The Third Day. — Sitting-room at Lawton’s. The anxious watch¬ 
ers. Retta’s sorrow. The new friends. CadAvaliader’s mishap. Mamie’s 
sympathy. “ Thanks aAvfully.” Biggs arrives. A roaring toav. Cadwal- 
lader’s resolution. Segura’s cunning. Home again. Retta’s confession. 
Laying the train. “ He has a wife already.” Paul in trouble. Retta ex¬ 
plodes the mine. Paul in danger. Death of Retta. Finale. 






gecL, 


iE M. »BA 

Price 15 cents, unless o, 


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rnqlpc t fpmfllp 

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in one act. 8 females. 

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males. 

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WALTER H. BAKER, & C0.‘ (P.O.Box 2846 ), Boston, Mass. 








WISHED. 


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i 

A Box 2 F T' 1 ' 


LIBRARY OF CONGRESS 


A PARLOR FARCE IN 



0 018 604 084 3 9 


By GRACE L. FURimiss,; 


[Reprinted from Harpers’ Bazar, by kind permission of Messrs. Harper and Bros.] 

Two male and three female characters. Scene, an easy interior, the 
same for both acts; costumes, modern. This clever little play of modern 
society, by the author of “ A Veneered Savage,” and other popular 
pieces, is strong in interest, brilliant in dialogue, sprightly and graceful 
in movement. Under the title of “ American Fascination ” it was given 
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Boston, with eminent success, 'it can be successfully played in a parlor 
without scenery, and is in all respects an admirable successor to Miss 
Tiffany’s popular 

“ rice pudding.” 


Price, ..... 15 cents. 

_ _ * -»• 


"[HE QOUNTRY gCHOOL 

AN ENTERTAINMENT IN TWO SCENES. 

By M. R. ORNE. 

For any number of characters, male or female, either or both, many or few, big or 
little. Scenery, simple ; costumes, those of our grandfather’s days; time in playing, 
about forty minutes. The sketch carries the spectator back to hjs school-boy days in the 
little red school-house, and is sure to be very popular. 

Price, . , . . • 15 cents. 


.. SYNOPSIS : 

SCENE I. Introductory. Going to school. Hookin’apples and hookin’Jack. Jokes^ 
and jollity. . , 

SCENE II. The old “ deestrick skule” house. The scholars assemble. Calling the 
roll. Excuses. The new boys — •“ Julius Call and Billious Call.” The stuttering 
boy. The infant class. “This is a warm doughnut; tread on it.” The arithmetic 
class. ” Why does aaelephant hav ; a trunk ? ” A history lesson. One reason why 
George Washington’s birthday is celebrated. A visitor. Somebody’s “ma.” A 
very delicate child. Some fun about pickles. A visit from the school conumittee.’ 11 
A school examination in “ history, filoserpy, quotations, flirtations, an’ kerdrilles.” 
Head to foot. A very bad spell. Blackboard exercises. A motion song. A crush 
hat. More fun. A boy’s composition on ** boys.” 


Walter H. Baker & Co., 23 Winter St., Boston. 


S. J. PARKHILL a CO., PRINTERS, 232 FRANKLIN ST., B03T0M. 


























